Schubert: the secret of song

Jonathan Rée in Prospect:

Franz_Schubert_by_Wilhelm_August_RiederEvery October for the past 13 years, the Oxford Lieder Festival has been bringing classy performances of classical art songs to what used to be a rather unmusical town. I love it: great art taken seriously, mostly in the glorious intimacy of the Holywell Music Room, and without any pomp, artifice or unnecessary formality. But I must say I was rather dismayed when I heard what was planned for this year’s festival, which started a week ago: a complete survey of all the songs that Schubert ever wrote.

Schubert was, of course, the inventor of the classical Liederabend or song recital: the extraordinary musical institution that features nothing but a singer and a pianist, achieving, when all goes well, a thrillingly direct communication with their audience. And apart from inventing the institution, Schubert wrote the classics against which all subsequent efforts are measured—notably Winterreiseand Schöne Müllerin, whose depth, variety, drama, animation and melancholy place them amongst the bare necessities of any possible desert island. But given that Schubert died at the age of 31 (in 1828) and that, apart from inventing the Liederabend, he composed in practically every other genre of classical music, you might think that he could not have written terribly many songs.

Actually he wrote more than 600, so the idea of a three-week festival featuring every single one is perhaps even crazier than you might have thought. A suitable event for anoraks, pub-quizzers and musical train-spotters, perhaps, but why should anyone who cares for the art of singing want to scrape the barrel for hundreds of minor works, rather than remaining with the tried and tested pre-loved masterpieces?

More here. [Thanks to Brooks Riley.]